To be held in Albuquerque, NM, February 8-11, 2006.Further details (listing of all areas, hotel, registration, tours, etc.)available at http://www.h-net.org/~swpca/

Seeking papers addressing television programs, formats, or genres in globalcontext. How do television programs circulate in the global culturalmarketplace? How are contemporary patterns of circulation different fromearlier patterns? How is the dominance of US TV circumscribed by issues ofscheduling and reception in local sites? How is cross-cultural TV embeddedinto local sites? How is it received in different local contexts? Etc. Sincemuch has been written about US TV abroad, I'm particularly interested inpapers addressing other national television practices in global contextand/or new cross-cultural industrial relations that mitigate the impact ofUS dominance.

Essays may focus on textual analysis, genre study, reception study, oranalysis of media industry discourse. Send proposals of 100-200 words viaemail to Stacy Takacs (takacs_at_okstate.edu ) by Nov. 7, 2005.------------------------------The Media and Globalization Area of the Southwest Texas PCA recognizes thecentrality of electronic communications technologies to the processes ofglobal interconnection that have been transforming our world of late andseeks to understand the electronic media's specific modes of participationin these processes. We are seeking papers addressing a wide array of mediapractices and phenomena as they related to issues of globalization. Othersuggests include:

*Cross-Cultural Media Exchanges (Japanese Cartoons on US TV, for example, orUS sitcoms shown abroad, etc.)*Cognitive mappings of the global order in TV, Film, or Computer Media*Satellite television and the imagination of a global audience*Global news coverage (US and non-US treatments of 9/11, Afghanistan, Iraq,Israel/Palestine, etc.)*New Global Forms of Entertainment Programming/Delivery*The impact of technological convergence on the global culture industries*Post-Fordist practices in production, management, or distribution(Co-productions in the film industry, for example)*Changes in the composition of the audience/market for cultural content*The formation of a global "creative class" (or other effects on labor)*Historical treatments that complicate arguments about the ³newness² ofglobalization*Etc.